mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Revisions in FESB

b. 273

composition: Op. 2, Variations, complete

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The second note in the L.H. part in AsI, A (→GE→FE) and EE3 is a dotted quaver, as a result of which the bar is a semiquaver too short. In the full, orchestral version of this tutti, the cello (and bassoon) phrase starts from the beginning of the bar with a dotted crotchet, which could have suggested to Chopin that it was also in the version for one piano, after shifting the beginning to the 2nd quaver, that the new value should be dotted. The mistake, easy to detect, was noticed and corrected only by FESB. By contrast, in EE1 (→EE2) the dot prolonging this note was left out – it could have been a failed attempt at correcting this mistake.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE , Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Revisions in FESB

b. 274

composition: Op. 2, Variations, complete

2 R.H. f notes in AsI

5 R.H. f notes in A (→GE)

3 R.H. f notes in FE & FESB

4 R.H. f notes in EE

Our variant suggestion
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A version of FE in which R.H. quavers on the 2nd beat do not include the f notes is most likely the result of Chopin's correction of its Stichvorlage, i.e. a copy of GE1. This version, which does not suggest striking these notes with both hands simultaneously, is given in the main text. A similar adjustment was made in EE, but there is no suggestion that Chopin had any influence on the text of this edition.
Noteworthy is the version of AsI, in which Chopin omitted the first f quaver on the 2nd beat (similarly to FE), and also deleted the f semiquavers on the 1st beat. The removal of these notes, which is a kind of development of the original idea to which Chopin eventually returned, is included in the main text in variant form.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: EE revisions , Accompaniment changes , Authentic corrections of FE , Revisions in FESB

b. 334-335

composition: Op. 2, Variations, complete

Slurs to b & a1 in A & FE

Slurs to a1 & f1 in GE, possible interpretation

Slurs to b, f1 & a1 in EE, possible interpretation

Slurs to b & f1 in FESB, possible interpretation

Slurs to b & f1 in GE3, possible interpretation
..

In GE, FESB and EE bar 335 opens a new line, which caused the distortion of the slurs ending on the 1st quaver in this bar. In the graphic transcription we reproduce the versions of these editions without changes, whereas in the content transcription (version 'edited text') we give their most likely (according to us) interpretation. In the main text we reproduce the unequivocal notation of A and FE (the notation of FE could have resulted from Chopin's intervention in the copy of GE1 serving him as the basis, since on the basis of the notation of GE it is difficult to guess the correct version, and neither the reviser of EE nor the reviser of FESB succeeded at it).

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Errors in GE , Authentic corrections of FE , Revisions in FESB

b. 339-340

composition: Op. 2, Variations, complete

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In the main text we add cautionary accidentals – a  to e1 in bar 339 and to e2 in bar 340 and a  to g2 in bar 339. Such accidentals were also added in the first editions:

  • in EE a  to g2 in bar 340,
  • in FESB a  to e2 and a  to g2 in bar 340,
  • in GE3 a  to e1 in bar 339 and to e2 in bar 340.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Revisions in FESB